Knock on Wood

Welcome to the first-ever edition of May’s Monthly Horror Recs, where it’s always the time of year for scary movies. I always watch too many of these darned things, and thought it’d be a lot of fun to share some of the lesser-known and underseen offerings I come across. I truly enjoy every single one of these movies, but if not all of them appeal to you, check out the ones that pique your interest the most! I hope you enjoy one, some, or all of my picks!

The Ugly Stepsister (2025)

We were truly blessed in April when Ryan Coogler released his critical and commercial darling Sinners, which transcended the genre’s normal bounds into mainstream media and consciousness like only the most special horror films do. The only regret that I had of that monumental achievement was how thoroughly it overshadowed the limited release of The Ugly Stepsister that very same weekend. The film takes a retelling of the classic Cinderella story to bodily and psychological extremes. It tells the story from the perspective of Elvira, played fearlessly by Lea Myren, who fills the titular “ugly stepsister” role in the original story. It thematically treads in many similar areas as the recent mega-hit The Substance, but ironically with its fantasy setting, it’s far less fantastical and abstract. What Elvira proceeds to go through is an immensely sad downward spiral that holds a palpable sense of dread that hangs over the entire narrative and a real capability to shock and disgust when it wants to. It’s truly impressive how it balances the familiarity of the story to the audience with its completely unique twists and turns. The climax of this movie actually had my jaw on the floor with how much it affected me on both an emotional and gut level. I understand why Sinners captured the public interest, but I still think every horror fan should absolutely see The Ugly Stepsister before the year comes to a close.

Watch it on Shudder, Philo, AMC+

Martin (1978)

Before seeing Martin, I (like most) had only known George A. Romero for inventing the modern zombie in classics like Night of the Living Dead and Dawn of the Dead, while also making the anthology classic Creepshow with Stephen King. All of those films, in some way, use a heightened reality or style to tell his story or highlight the satirical themes of the narrative. Not so with Martin. This movie at all times feels a little too real, with grimy cinematography that engrosses you into late ’70s New York in a way that would make Frank Henenlotter and Lucio Fulci jealous. The film has a pervasive sense of industrial dread and urban isolation throughout its grotesquely grimy setting. Its true secret weapon and showstopper, though, is the incredible and underpraised lead performance by John Amplas that balances genuine empathy and total monstrousness from scene to scene. As he does in his zombie flicks, Romero challenges you to keep looking at the monstrous violence he depicts, but this time it is not fantasy or abstract violence. It is cruel, matter-of-fact, prolonged, and realistic, and it made me uncomfortable at every turn. This is a true character study with a unique perspective and themes that, if it was written today, A24 would be all over it.

A Wounded Fawn (2022)

Girl meets boy, boy turns out to be a serial killer. To any horror fan, that premise probably sounds familiar. This takes a very specific turn that I deeply want to preserve for the uninitiated, and I want to make sure to get across how worth it that turn is. I’ll shy away from the plot in an effort to preserve that, but there’s still a lot to talk about. It’s shot in a gorgeous way that combines modern detailed production design with ’70s-inspired colors and settings. The acting from both Sarah Lind and Josh Ruben is abjectly phenomenal. Ruben, especially, has to show multiple sides to the same character as he goes through some wild story turns in the process. It’s truly impressive, and a satisfyingly weird time!

Watch it on Shudder, Hoopla, Philo, AMC+

Crimes of the Future (2022)

I admit that I am still wrapping my head fully around the latest horror offering from body horror legend David Cronenberg. What I lack in complete and full understanding of the subtext of themes, I can make up for in statements that are honestly more important. This is a deeply unique and resonant film. One that both plays into old fascinations that are uniquely Cronenbergian (like your identity’s relationship with the way you perceive your body and its function) and updates a lot of those ideas (like framing the narrative in terms of a political movement and as an expression of your inner yearning to find a truer and more meaningful version of yourself and your existence). Viggo Mortensen is as profound and convincing as he’s known to be, Léa Seydoux continues to be one of the most underrated actors working today, and Kristen Stewart is so delightfully weird in a way that is both baffling and delicious. I won’t promise complete comprehension, but I can promise an experience you not only can’t get anywhere else, but one that you could never get from anyone but a seasoned master.

Watch it on Hulu, Kanopy

Night of the Living Dead (1990)

With the recent passing of Tony Todd and his emotional appearance in the new Final Destination film, I couldn’t pass up recommending one of his overlooked gems. Tom Savini (best known as one of the best makeup artists of all time) directed the hell out of this remake of Romero’s classic – the endeavor of which might seem futile at first, but proves to be way more fun and successful as the film progresses. The effects are (of course) breathtakingly good, updating the zombie looks to a suitably decayed and gory degree, and with Savini behind the camera, you could count on that being done right. What’s surprising is how deftly Savini handles direct adaptation with meaningful change to the source material, and how much the changed material really works. It even reorients the iconic gut-punch ending of the original to something that managed to surprise me as much as the original did while maintaining the same devastating emotional impact. It’s not the best horror remake ever made, but it’s better than most of them. The passion on both sides of the camera is evident in every frame, and it’s worth recognizing and celebrating these amazing artists and craftsmen taking on a classic and knocking it out of the park.